On Bi Feiyu’s Novel Writing In The Lu Xun Tradition

Bi Feiyu is an important writer in the history of contemporary Chinese literature.His creation is unique and occupies a place in contemporary literature.The Lu Xun tradition is an important reference system for the transformation of contemporary fiction.In his literary practice,Bi Feiyu has consciously followed the literary and spiritual tradition started by Lu Xun and made a unique and individual development.This paper takes the texts written by Bi Feiyu as the object,and explores Bi’s fictional creation under the influence of Lu Xun’s tradition in more detail in the form of several topics.It is divided into three chapters.In the first chapter,against the background of vernacular China,from "Lu Zhen" to "Broken Bridge Town," both writers express their conflicting feelings of attachment to and departure from their hometowns,betting on their close attention to the everyday life of the countryside.From the top-down oppression and the implied passive patriarchal dependency in Lu Xun’s time to the inside-out invasion caused by the desire of the countryside in Bi Feiyu’s time,the writers interpreted different old and new orders of the countryside;finally,in the intertextual expression of urban-rural relations,Bi Feiyu not only followed the pace of the times and further wrote about the countryside and the city in a state of adhesion,but also showed the spiritual position of the country people and the urban dilemma.The tradition of writing about "rural China" is further inherited and innovated by Bi Feiyu.In the second chapter,Bi Feiyu writes about the inheritance and development of three aspects of the "inferior national" personality tradition started by Lu Xun: the rogue nature of the strong,the slave nature of the weak,and the indifference of the mediocre onlookers.The third category of indifference of the vulgar is represented by the images of Q and women,respectively;although the indifference of the vulgar is deeply portrayed in Lu Xun’s tradition,Bi Feiyu adds many new meanings to it,creating a lively and indifferent image of the vulgar.In the third chapter,Bi Feiyu continues Lu Xun’s philosophy of "resistance against despair",continues the tragic aesthetics of "tearing the beautiful things to pieces for people to see",and constructs a humanistic system in which "the underprivileged establish the right to speak".The humanistic system is used to break out of the spiritual siege of "the formation of nothing" and finally reach the direction of life towards death and life,innovatively interpreting Bi Feiyu’s philosophy of "resistance to despair" under a compassionate view of everything.In the concluding part,under the guidance of Lu Xun,who brought the fire of thought to mankind like Prometheus,Bi Feiyu has also taken a path of his own.Malraux said,"Every young man’s heart is a cemetery on which the names of a thousand deceased artists are inscribed.But only a few of them are powerful and often incompatible ghosts with official accounts." Taking the "Lu Xun tradition" as the cornerstone and benchmark for his own progress,Bi Feiyu has not only opened up his horizons with its help,but also did not stick to the field of pioneers,dealing with the relationship between inheritance and innovation,and coming out of a big road of his own.